Stuart Brown, host of the Broadway music radio program "On Broadway," reviews NYC and CT stage offerings as well as ruminating about other theatrical matters.

Monday, March 6, 2017

Review of "Sunset Boulevard"

There are two reasons to see the revival of Sunset Boulevard on Broadway.First, is the luminous performance of
Glenn Close as Norma Desmond, recreating her Tony Award winning role from 23
years ago.Close, older now, but
lacking none of her vitality, totally embodies the character of the aged,
fading silent movie star.This is
one of those defining theatrical performances that should not be missed.

The second reason is the 20 plus member orchestra, women in
black gowns, men in tuxedos, seated on stage, an unheard of number of musicians
in today’s Broadway.The lush,
full sound envelopes The Palace Theatre unlike any other show on Broadway.While the score is not top tier Andrew
Lloyd Webber there are a number of defining songs – “With One Look,” “The
Perfect Year,” and “As If We Never Said Goodbye” – that receive a captivating
and heavenly sound.

Sunset Boulevard, based on the 1950 Billy Wilder
film, “revolves around Norma Desmond, a faded star of the silent screen era,
living in the past in her decaying mansion on the fabled Los Angeles street.
When young screenwriter Joe Gillis accidentally crosses her path, she sees in
him an opportunity to make her comeback to the big screen. Romance and tragedy
follow.” (https://en.wikipedia.org/wiki/Sunset_Boulevard_(musical)).Librettists Don Black and Christopher
Hampton stick closely to the movie plot, making sure to provide Ms. Close with
enough star turns, which is fine since the show sags somewhat when she is not
on stage..

For this limited run Scenic Designer James Noone has created a
starker production design then during the original run, with a series of
stairways and interconnecting catwalks filling up the stage.This forces us to focus on the actors
as opposed to the opulence and decay within Norma Desmond’s world.Costume Designer Tracy Christensen has
pulled out all the stops with her extravagant, sometimes garish outfits for the
character.All are showstoppers.

The main supporting cast members are mostly effective in
their roles without outshining for one moment the star of the show.Michael Xavier gives screenwriter Joe
Gillis the requisite down-on-his-luck, sarcastic edge, but he comes across as
too much of a cad, no matter what the circumstance or situation.Siobhan Dillion’s portrayal of Besty
Schaeffer finely toes the line of hard-driving career girl with spunk and a
heaping dash of insecurity.Fred
Johanson as Nora Desmond’s manservant and one-time director, Max Von Mayerling,
needs to provide more variation to his characterization.He comes across a bit wooden and one-dimensional.

The score, with music by Andrew Lloyd Webber and lyrics by
Don Black and Christopher Hampton, has a sumptuousness and grandeur quality made
more impressive with the overly large on-stage orchestra.As stated earlier, the musical has a
number of signature songs delivered in a stirring and sophisticated fashion by
Ms. Close.Overall, though, the
score is not one of the composing team’s strongest efforts.

Director Lonny Price smartly keeps Glenn Close center stage
as much as possible.When she is
not the focus the production slips, waiting for her poise, worldliness, and energy
to take hold. All of this comes
together in the dazzling Act II scene at the Paramount Studio backlot and the
actress’s rendition of “As If We Never Said Goodbye.”Her brilliance does overshadow the secondary characters in
the musical and the show would have benefitted more fully if Price was able to
give each of them an added dimension.His inclusion of the on-stage orchestra adds a
unique and satisfying element to the production.The car chase through the LA canyon is an inspired piece of
stagecraft.

Sunset Boulevard, catch it for Glenn Close’s thrilling,
once in a lifetime performance.